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EGIPATSKA RELIGIJA I ANTIČKA ISTRA

EGYPTIAN RELIGION AND ANCIENT ISTRIA

IZLOŽBA - EXHIBITION

VESNA GIRARDI-JURKIC • KRISTINA DŽIN • IGOR URANIC

ARHEOLOŠKI MUZEJ ISTRE PULA, 2001.

KATALOG 59 / CATALOGUE n° 59

organizator izložbe / exhibition organisation ARHEOLOŠKI MUZEJ ISTRE, PULA

za organizatora i izdavača / for the organiser and publisher ŽELJKOUJČIĆ

autori izložbe i teksta / exhibition and text authors KRISTINA DŽIN

Dr. se. VESNA GIRARDI-JURKIĆ IGOR URANIĆ

konzervacija i tehnički postav / conservation and technical assistance SLOBODAN BOŽIČKOVIĆ

JADRANKA HOMOKI ALDO MONFARDIN

GIULIA CODACCI urednik kataloga / catalogue editor

KRISTINA DŽIN

prijevod / translation VESNA PAVLETIĆ

KATJA RADOŠ-PERKOVIĆ IVA ŠTEKAR

korektura / proof-reader KRISTINA DŽIN

fotografije / photographv ENZO MOROVIC

oblikovanje kataloga / catalogue design ENZO MOROVIC

fotolito / photolito ETIGRAF. PULA

tisak / printed bv ENED PROJECT FAZANA

naklada / circulation 1000

PREDGOVOR FOREWORD

Širenjem francuskog prosvjetiteljstva početkom 19. stoljeća za vladavine napoleonovog maršala Marmonta, u Puli se stvara prva arheološka zbirka u Augustovom hramu kao začetak muzeologije i zaštite spomenika u Istri. To je vrijeme kada napoleonova ekspedicija u dolini rijeke Nila, posebno počinje buditi kolekcionarski interes za proučavanje egiptologije. Tako nastaju prve privatne zbirke staroegipatskih spomenika danas prikupljene u velikim europskim muzejima u Parizu (Louvre), Torinu (Museo Egiziano), Londonu (Britisch Museum), Beču (Kunsthistorisches museum), ali i izuzetno zanimljiva i bogata egipatska zbirka u Arheološkom muzeju u Zagrebu. Suradnja Arheološkog muzeja Istre i Arheološkog muzeja u Zagrebu omogućila je dugogodišnju razmjenu izložbi ovih dviju ustanova u prezentaciji arheoloških istraživanja i prikazu javnosti arheoloških zbirki. Arheološki muzej u Zagrebu pohranjuje raznoliku zbirku spomenika egipatskog kraljevstva iz koje je izborom skulptura prikazan svijet egipatskih bogova. Potaknut gostovanjem izložbe iz Zagreba, naslova "Bogovi, duhovi i demoni Starog Egipta", u pulskoj galeriji Amfiteatar, Arheološki muzej Istre je iskoristio prigodu za prezentaciju srodnih i sličnih arheoloških predmeta iz fundusa svoje ustanove. Stoga je izložba naslova "Egipatska religija i antička Istra" prilika za znanstvenu obradu tri

With the spreading of the French Enlightenment at the beginning of the 19th century during the rule of Napoleon's marshal Marmont the first archaeological collection is established in Pula in the temple of Augustus. It represents the origin of museology and preservation of monuments in Istria. These are the times when the Napoleonic expedition in the valley of the river Nile starts raising the interest of collectors for the research of ancient Egypt. Thus the first private collections of antient Egyptian monuments are created, which are now kept in big European museums in Paris (Louvre), Turin (Museo Egiziano), London (The British Museum), Wienna (Kunsthistorisches Museum), but also in Zagreb where there is an extremely interesting and rich Egyptian collection at the Archaelogical museum. The cooperation between the Archaeological museum of Istria and the Archaeological museum in Zagreb has made possible for years an exchange of exhibitions by the two institutions through the presentation of archaeological research and the opening of archaeological collections to the public. The Archaeological museum in Zagreb keeps a varied collection of monuments belonging to ancient Egypt and a selection of sculptures from it represents the world of Egyptian divinities. Encouraged by this Zagreb exhibition entitled "Gods, Spirits and Demons of Ancient Egypt" at the gallery Amfiteatar in Pula, the Archaeological museum of Istria has taken the opportunity to present related and similar archaeo-

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grupe predmeta čija je zajednička vrijednost u tragu duhovnosti egipatskih kultova. Dvije grupe keramičkih i brončanih figurica najvjerojatnije su porijeklom iz privatnih zbirki pohranjenih u pulskom muzeju, kao izraz kolekcionarske strasti za skromno poštivanje sjajne staroegipatske prošlosti. Posebno su brončani predmeti (nepoznatog nalazišta) izvorni simbol najdublje intime religijske duhovnosti orijentalaca, koji su korišteni u malim kućnim i obiteljskim svetištima npr. Iziđe ili Ozirisa. Stoga je svakako najzanimljivija grupa predmeta s arheološki potvrđenim izvornim porijeklom nalaza u Istri, koji odražavaju politeističko orijentalno stanovništvo u doba rimske vlasti. Društveni značaj orijentalaca u antičkoj Istri toliko je bio izražen, da je npr. vjerska zajednica sljedbenica Jupitera Amona, koristeći religijsku snošljivost i kompromisni sinkretizam iskazan u mudroj politici rimske države, dobila priliku, svojom ekonomskom i društvenom snagom, bogato označiti svojim reljefima ukrase trijema ili mramornu carsku statuu na forumu pulske kolonije. Da li su ti orijentalci u Puli stvarno bili pravi Egipćani ili rimski građani orijentalnog porijekla, koji su svojim hramovima i sudjelovanjem u vjerskim obredima odigrali značajnu ulogu u javnom životu kolonije? Svakako, to su bili poduzetni putnici i kolonisti cijelog Mediterana, koji su porijeklom iz najvažnije žitnice rimskog carstva u dolini Nila, danas nama ostavili skromne, ali produhovljene tragove jednog veličanstvenog staroegipatskog kraljevstva.

ZELJKO Ravnatelj -

logical artefacts from the inventory of this institution. Thus, the title of the exhibition '"Egyptian Religion and Ancient Istria" gives an opportunity for scientific elaboration of three groups of objects which common value lies in the traces of spirituality of Egyptian cults. Two groups of ceramic and bronze figurines are most probably originated from private collections kept in the museum of Pula as an expression of the collectors' passion for paying humble respect to the shiny ancient Egyptian past. The bronze objects (from an unknown site) particularly, used in small house and family sanctuaries dedicated, for example, to Isis or Osiris, represent the original symbol of the Orientals' deepest intimate religious spirituality. Therefore, the most interesting group would definitely be the group of objects with confirmed origins of the finds in Istria which reflects a polytheistic, oriental population during the Roman rule. The social significance of Orientals in ancient Istria was so pronounced that, for example, the religious community of Jupiter Amon got the chance, making use of the religious tolerance and the comprompromise-seeking syncretism shown by the wise politics of the Roman state, to mark richly with reliefs, through their economic and social power, the decorations on porches or the marble imperial statue on the forum of the Pula colony. Were these Orientals in Pula really Egyptians or just Roman citizens of oriental origins who, with their temples and participation in religious rites, have played a significant role in the public life of the colony? They were definitely enterprising travellers and colonists of the whole of the Mediterranean, originally from the biggest granary of the Roman empire in the valley of the Nile, who have left for us today modest but spiritualized traces of a magnificent ancient Egyptian empire.

UJČIĆ Director

EGIPATSKA RELIGIJA I ANTIČKA ISTRA

Cilj ove izložbe je da u tri povezana dijela sistematizirana u tri grupe izloženih predmeta, pokaže manji dio bogatstva riznice Arheološkog muzeja Istre i prisutnost sakupljene spomeničke baštine: kultova, bogova i demona Egipta. Prvu grupu čine nalazi koji ističu štovanje egipatskih i sinkretiziranih egipatsko rimskih božanstava u samoj Istri, kao dokaz postojanja ori-jentaliziranog stanovništva i njihovih vjerovanja. Upravo su oni bili jedan od važnijih čimbenika polireligijskog i multikulturalnog razvitka poluotoka u antičko doba, smještenog u jadranskom bazenu Mediterana. Oni su njegovali kult Iziđe, Iziđe Fortune, Jupiter Amona, Hatora, Aheloja i Serapisa. U razvijenom Rimskom carstvu u Istri se nalaze pučka sinkretizirana egipatsko rimska božanstva (Izida Fortuna, Jupiter Amon), ali i trans-ferirani čisti egipatski bogovi (Izida, Hator, Aheloj, Serapis). Ovi istaknuti egipatski kultovi zabilježeni su na arheološkim spomenicima otkrivenim na različitim nalazištima u Istri. Druga grupa sastoji se od predmeta koji su dio zbirke votivnih brončanih figurica kao sastavni dio kućnih svetišta stanovnika Istre egipatsko rimskog podrijetla (Oziris, Apis, muški i ženski amuleti). Ovi su predmeti nepoznatog nalazišta. Treću grupu čine ušebti figurice i amuleti (skarabeji i udat oko) koji su bili sastavni dio Austrijske zbirke nepoznatog donatora, možda iz Phaestosa (otok Kreta).

Dr. se. Vesna

EGYPTIAN RELIGION AND ANCIENT ISTRIA

The aim of this exhibition is to show a small part of the rich treasury of the Archaeological Museum of Istria and it is organized in three connected parts systematized in three groups of exhibited objects showing the presence of the collected monumental legacy: cults, deities and demons of Egypt. The first group comprises finds which point out the worship of Egyptian and syncretic Egyptian and Roman deities in Istria as evidence of the existence of an Orientalized population and their religious beliefs. It is this population that has been one of the important factors of polyreligious and multicultural development in antiquity of the peninsula situated in the Adriatic area of the Mediterranean. They worshiped the cults of Isis, Isis Fortuna, Jupiter Amon, Hathor, Achelous and Seraphis. In the developed Roman empire in Istria, popular syncretic Egyptian and Roman deities (Isis Fortuna, Jupiter Amon) can be found as well as transferred pure Egyptian deities (Isis, Hathor, Achelous, Seraphis). These important Egyptian cults were recorded on archaeological monuments found on different sites in Istria. The second group comprises objects which are part of a collection of votive bronze statuettes being a constituent part of household shrines of Egyptian and Roman origin of the inhabitants of Istria (Osiris, Apis, male and female amulets). The site from which these objects derive is unknown. The third group comprises Ushabti statuettes and amulets (scarabs and ujat eye) which were part of the Austrian collection of an unknown donor, possibly from Phaestos (island of Crete).

i Jurkić

EGIPATSKI KULTOVI U OZRAČJU ANTIČKE ISTRE

Orijentalni kultovi na području rimske dominacije, javljaju se u povijesnom razdoblju koje je uvjetovano i određeno bitnim socijalnim faktorom kao i društveno-političkim i filozofsko-religioznim uvjetima života u rimskoj državi. Za pravilnu ocjenu podrijetla novih religioznih a kroz njih i društveno-političkih pogleda, značajno je uočiti da se nova shvaćanja - u suštini revolucionarna i progresivna -javljaju u zemljama u kojima država nije uspijevala savladati društvene snage koje su kočile normalan i prirodan tijek života. Potreba za novim božanstvima narodne religije temelji se na starim autohtonim vjerovanjima pokorenog stanovništva i javlja se kao shvaćanja koja su se postupno formirala i gotovo kontinuirano pratila jačanje rimske države na prijelazu iz Republike u Carstvo. Fenomen štovanja Iziđe, koja je u Rimu slavljena već u III. st. pr. Kr., poistovjećivala se s božicom Hekatom i Kibelom u Grčkoj, a s Terom u Rimu gdje je ona postala božica plodnosti u općem smislu shvaćanja. Naročito je poznata pod nazivom Izida Fortuna, te je u okviru ovih zajedničkih značajki likovno prikazivana na reljefima i u skulpturi. Likovna interpretacija Iziđe Fortune potvrđena je u Istri nalazima malih brončanih figurica iz Savudrije, Lorona kod Červara i Trsta, koje su zasigurno pripadale kućnim lararijima. Slavljenje ovog orijentalnog kulta poznato je i u južnom dijelu Istre. Na ovo nam ukazuje votivna ara iz Galižane, koja je reljefno ukrašena s poznatim Izidinim simbolima kao što su sistrum, sjekira, patera, žohar, zmija, mač, genije koji vodi panteru, paun na kugli i polumjesec. Hathor se kao božanstvo često izjednačavao s Izidom, također je zaštitničkog značaja i stoga nije čudno da se pojavljivao kao dekoracija

EGYPTIAN CULTS IN THE ATMOSPHERE OF ANTIQUE ISTRIA

Oriental cults on Roman dominated territories appear in the historic time which is conditioned and determined by important social factors as well as by socio-political and philosophic-religious conditions of life in the Roman state. For us to be able to evaluate correctly the origin of the new religious and consequently also socio-political views, it is important to note that the new ideas -in their essence revolutionary and progressive - appear in countries in which the state was unable to control the social forces affecting the normal and natural course of life. The need for new deities in the popular religion is based on ancient autochthonous beliefs of the conquered population and appears in the form of ideas which have gradually come into shape and have almost continuously followed the strengthening of the Roman empire during the passage from the Republic to the Empire. The phenomenon of the cult of his, worshiped in Rome as early as in the III century BC, was identified with the goddess Hecate and Cybele in Greece and with Tera in Rome where she became the goddess of fertility in a wider sense. She was especially known under the name of his Fortuna and has, in the frame of these common characteristics, been represented on relief and in sculpture. The visual interpretation of Isis Fortuna has been confirmed in Istria with the finds of small bronze statuettes from Savudrija, Loron near Cervar and Trieste; statuettes which were certainly part of household shrines dedicated to lares. The worship of this oriental cult was also known in the southern part of Istria, as it is suggested by a votive urn from Galižana decorated with Isis' symbols like the sistrum, the axe, the panther, the cockroach, the snake, the sword, the genius leading the panther, the peacock on a sphere and the crescent. Hathor was, as a deity, often identified with Isis, also because of her protective importance. It is, therefore, not strange that Hathor appeared as a decoration

u puljskom amfiteatru, tim više što su i sudionici u gladijatorskim i drugim nastupima često bili egipatskog podrijetla. Sinkretizam se susreće i kod onih rimskih orijentalnih kultova slavljenih u Istri, gdje su vrhovna rimska božanstva poprimila neke ikonografske značajke egipatskih bogova. Tako se npr. rimsko božanstvo Jupiter pojavljuje u bareljefu na nekoliko kamenih spomenika pronađenih u okolici Pule i na dva natpisa. Na bazama žrtvenika, Jupiter Amon likovno je koncipiran s karakterističnim Amonovim rogovima i bradatog lica kao Jupiter u nizu različitih varijanti, ali ga ne nalazimo zabilježenog u natpisu. Kult Jupiter Amona se posebno štuje u primorskim gradovima kao božanstvo na forumima. Njegovu zaštitu traže i utjecaje šire moreplovci, koji pristaju u obalnim rimskim pristaništima {Pola, Iader). Takav poseban simbol imao je i sačuvani oltar u Puli ukrašen dvjema glavama Jupiter Amona, nimfama, girlandama i orlom, gdje je vidljivo da se rimski Jupiter identificira s vrhovnim egipatskim božanstvom Amonom. Aheloj se izjednačuje kao zaštitnik Aspropotama s bogom egipatske rijeke Donjeg Egipta. To je junak divovskog rasta koji se povezuje s kultom Herakla, patronom grada Pule. Značajno je istaknuti da se Ahelojev rog sadržajno i mitski veže uz rog obilja koji je trebao antičkoj Puli donijeti snagu i blagostanje. Serapis je božanstvo helenističkog izgleda i egipatskog podrijetla. Potječe iz kombinacije egipatskih bogova Ozirisa i Apisa. U Istri se javlja na nadgrobnom spomeniku Obelije Maksume s karakterističnom visokom kapom - kalatusom, znakom obilja. Postoji opravdan razlog postavci da je pokojnica bila svećenica orijentalnog kulta, tim više što je Serapis isključivo bog mrtvih. Nazočnost navedenih egipatskih i egipatsko-rimskih božanstava potvrđuje permanentno postojanje trgovačkih, umjetničkih i religijskih veza jugoistočnog Mediterana s istarskim podnebljem, koje je omogućilo novodošlim stanovnicima suživot i njegovanje tradicijskih običaja od I. do III. st. posl. Kr.

in the amphitheatre in Pula, particularly since the participants in the gladiator's and other performances were frequently of Egyptian origin. Syncretism can be seen in those Roman oriental cults present in Istria, in which the major Roman deities assumed certain iconographic traits of Egyptian gods. For instance, the Roman god Jupiter appears in low-relief on several stone monuments found in the vicinities of Pula and on two inscriptions. On the bases of the altars Jupiter Amon is visually conceived with the characteristic Amon's horns with a bearded face like Jupiter in a series of different variants. Nothing was, however, found on inscriptions. The cult of Jupiter Amon was especially worshiped in the coastal towns as a deity on the forums. His worship was spread and his protection invoked by seamen who landed in the coastal Roman ports (Pola, Iader). Such a special symbol had its preserved altar in Pula, decorated with nymphs, garlands and an eagle, where we can see that the Roman Jupiter is identified or almost identified with Amon, the supreme Egyptian deity. Achelous, as the protector of Aspropotamus, is identified with the god of the Egyptian river in the Lower Egypt. It is a gigantic hero connected to the cult of Heracles, the patron of the city of Pula. It has to be pointed out that Achelous horn is substantially and mythologically connected with the horn of abundance which was supposed to bring power and prosperity to the antique Pula. Seraphis is a deity of helenistic appearance but of Egyptian origin. It comes from a combination of the Egyptian gods Osiris and Apis. It appears in Istria on Obelia Maksuma's tombstone with the characteristic tall head dress -calathus, symbol of abundance. There is more than a justified reason for the thesis that the deceased woman was a priestess of the oriental cult, especially since Seraphis is exclusively the god of the dead. The presence of the mentioned Egyptian and Roman-Egyptian deities confirms a permanent existence of commercial, artistic and religious ties between the south-eastern Mediterranean and the Istrian area which made it possible for the newcome population to coexist and cultivate their traditions in the period from I to the III century BC.

IUPITERAMON, PULA

Monolitni blok dijela ograde žrtvenika od kamena vapnenca. Lijevi donji ugao spomenika je odlomljen. S lijeve i desne strane vide se mjesta za spajanje sa drugim kamenim elementom. Na prednjoj strani, u kvadratnoj edikuli. u visokom reljefu isklesana je glava Jupiter Amona. Edikula je omeđena letvičastim ravnim okvirom. Iznad edikule se nalazi trostruko letvičasto profiliran i užljebljen korniš. Glava Jupiter Amona realizirana je vrsnim skulptorsko-zanatskim umijećem. Muška glava obrasla je gustom rudlavom kosom iz koje izlaze dva savijena u krug roga. Velike oči nadsvedene su lukom jakih obrva, širok nos, poluzatvorena usta i jaka obrasla brada govore o dominantnom i pobjedničkom položaju lika na spomeniku.

IUPITERAMON, PULA

A monolith limestone block, part of an altar enclosure. The left lower part of the monument is broken. There are fixing points for another stone element on the left and the right side. On the front side, in the rectangular aedicule, the head of Iupiter Amon is chiseled in high relief. A lattice-like flat frame makes the border of the aedicule. There is a lattice-like triply profiled and fluted cornice above the aedicule. Iupiter Anion's head is excellently elaborated. The man's head is covered by thick curly hair from which two circularly bent horns emerge. Strong eyebrows above large eyes, wide nose, half-closed mouth and a strong beard indicate a dominant and victorious position of the depicted figure.

Nije poznato točno nalazište ovog spomenika, ali se vjeruje da pripada antičkoj spomeničkoj baštini grada Pule. Danas se spomenik nalazi u Arheološkom muzeju Istre u Puli (inv.br. A 391). Dim.: vis. 120,0 cm, šir. 80,0 cm, deblj. 85,0 cm. Dotacija: I. stoljeće. Ovaj spomenik je kompozicijski dio žrtvenika Jupiter Amona.

IUPITER AMON, PULA

Ulomak gornjeg dijela monolitnog bloka dijela ograde žrtvenika od kamena vapnenca. Donji dio je uništen i nedostaje. Na prednjoj strani, u dijelu kvadratne edikule, u visokom reljefu isklesan je gornji dio glave Jupiter Amona. Sačuvani dio edikule je omeđeno letvičastim ravnim okvirom. Iznad edikule se nalazi trostruko profiliran i užljebljen korniš. Sačuvani dio glave Jupiter Amona realiziran je vrsnim skulptorsko-zanatskim umijećem. Muška glava obrasla je gustom rudlavom kosom iz koje izlaze dva savijena u krug roga. Velike oči nadsvetene su lukom jakih obrva, širok nos i jaka obrasla brada govori o dominantnom i pobjedničkom položaju lika na spomeniku. Nije poznato točno nalazište ovog spomenika, ali se vjeruje da pripada antičkoj spomeničkoj baštini grada Pule. Danas se spomenik nalazi u Arheološkom muzeju Istre u Puli (inv.br. A 393). Dim.: vis. 120,0 cm, šir. 82,0 cm, deblj. 85,0 cm. Dotacija: I. stoljeće. Ovaj dio spomenika je kompozicijski dio žrtvenika Jupiter Amona.

IUPITER AMON, PULA (?)

Monolitni blok ograde žrtvenika od kamena vapnenca. Djelomično oštećen. S lijeve i desne strane vide se mjesta (utori) za spajanje s drugim kamenim elementima. Na prednjoj strani, u kvadratnoj edikuli, u visokom reljefu isklesana je glava Jupiter Amona. Edikula je

The exact finding site of the monument is not known, but it is believed that it belongs to the Antique heritage of the town of Pula. The monument is today displayed in the Archaeological Museum of Istria in Pula (invt. num. A 391). Dimensions: height 120,0 cm, width 80,0 cm, thickness 85,0 cm. Dates from: 1st century This monument is a compositional part of the lupiter Amon altar.

IUPITER AMON, PULA

Fragment of the upper part of a monolith limestone, part of an altar enclosure. The lower part is destroyed and missing. On the front side, in a part of a rectangular aedicule, the upper part of lupiter Amon's head is chiseled in high relief. A lattice-like flat frame borders the preserved part of the aedicule. There is a lattice-like triply profiled and fluted cornice above the aedicule. The preserved part of lupiter Amon's head is excellently elaborated. The man's head is covered by thick curly hair from which two circularly bent horns emerge. Strong eyebrows above large eyes, wide nose and a strong beard indicate a dominant and victorious position of the depicted figure. The exact finding site of the monument is not known, but it is believed that it belongs to the Antique heritage of the town of Pula. The monument is today displayed in the Archaeological Museum of Istria in Pula (invt. num. A 393). Dimensions: height 120,0 cm, width 82,0 cm, thickness 85,0 cm. Dates from: 1st century This monument is a compositional part of the lupiter Amon altar.

IUPITER AMON, PULA (?)

A monolith limestone block, part of an altar enclosure. Partly damaged. There are fixing points (grooves) for another stone element on the left and the right side. On the front side, in the rectangular aedicule, the head of lupiter Amon is chiseled in high relief. A lattice-like doubly profiled frame, damaged on the left side, borders the aedicule. There is a lattice-like quadruply profiled and fluted

omeđena letvičastim dvostruko profiliranim okvirom, koji je s lijeve strane oštećen. Iznad edikule se nalazi četverostruko letvičasto profiliran i užljebljen korniš s visokom uzglavnicom (pulvinus) bez jastuka. Glava Jupiter Amona u cjelini popunjava edikulu. Muška glava obrasla je gustom rudlavom kosom iz koje izlaze dva savijena u krug manja roga. Velike oči oblika mandule nadsvedene su lukom jakih obrva, širok nos sa nosnicama, poluotvorena usta i jaka obrasla brada govore o dominantnom i pobjedničkom položaju lika na spomeniku. Nije poznato točno nalazište ovog spomenika, ali se vjeruje da pripada antičkoj spomeničkoj baštini grada Pule (forum). Bio je pohranjen u puljskom muzeju. Danas se spomenik nalazi u dvorišnom lapidariju Arheološkom muzeju Istre u Puli. Dim.: a) spomenika: vis. 92,0 cm, šir. 73,0 cm, deblj. 67,0 cm;

b) edikula s glavom: šir. 38,0 cm. Datacija: I. stoljeće.

Ovaj spomenik je kompozicijski dio žrtvenika Jupiter Amona.

IUPITER AMON, PULA (?) Monolitni blok ograde žrtvenika od kamena vapnenca. Djelomično oštećen s lijeve strane. S lijeve i desne strane vide se mjesta (utori) za spajanje s drugim kamenim elementima. Na prednjoj strani, u kvadratnoj edikuli, u visokom reljefu isklesana je glava Jupiter Amona. Edikula je omeđena letvičastim dvostruko profiliranim okvirom, koji je s desne strane oštećen. Iznad edikule se nalazi četverostruko profiliran i užljebljen korniš s visokom uzglavnicom (pulvinus) bez jastuka. Glava Jupiter Amona u cjelini popunjava edikulu. Muška glava obrasla je gustom rudlavom kosom iz koje izlaze dva savijena u krug manja roga.

cornice above the aedicule with a high pulvinus. lupiter Amon's head wholly fills the aedicule. The man's head is covered by thick curly hair from which two small circularly bent horns emerge. Strong eyebrows above large eyes, wide nose, half-open mouth and a strong beard indicate a dominant and victorious position of the depicted figure. The exact finding site of the monument is not known, but it is believed that it belongs to the Antique heritage of the town of Pula (Forum). It was previously stored in the Pula Museum. The monument is today displayed in the Archaeological Museum of Istria in Pula. Dimensions: a) Monument: height 92,0 cm, width 73,0 cm, thickness 67,0 cm. b) Aedicule with head: width 38,0 cm. Dates from: 1st century This monument is a compositional part of the lupiter Amon altar.

IUPITER AMON, PULA (?)

A monolith limestone block, part of an altar enclosure. Partly damaged on its right side. There are fixing points (grooves) for another stone element on the left and the right side. On the front side, in the rectangular aedicule, the head of lupiter Amon is chiseled in high relief. A lattice-like doubly profiled frame, damaged on the right side, borders the aedicule. There is a lattice-like quadru-ply profiled and fluted cornice above the aedicule with a high pulvinus. lupiter Amon's head entirely fills the aedicule. The man's head is covered by thick curly hair from which two small circularly bent horns emerge. The right horn is broken. Strong eyebrows above large almond eyes, a wide nose with nostrils and a half-open mouth indicate a dominant and victorious position of the

Rog s desne strane glave je obijen. Velike oči oblika mandule nadsvedene su lukom jakih obrva, širok nos sa nosnicama i poluotvorena usta govore o dominantnom i pobjedničkom položaju lika na spomeniku. Nije poznato točno nalazište ovog spomenika, ali se vjeruje da pripada antičkoj spomeničkoj baštini grada Pule (forum). Bio je pohranjen u puljskom muzeju. Danas se spomenik nalazi u dvorišnom lapidariju Arheološkog muzeja Istre u Puli. (inv.br. A 18593) Dim.: a) spomenika: vis. 127,0 cm, sir. 74,0 cm,

debi]. 70,0 cm; b) edikula s glavom: vis. 47,0 cm, sir. 43,0 cm.

Datacija: II. - III. stoljeće. Ovaj spomenik je kompozicijski dio žrtvenika Jupiter Amona.

IUPITER AMON, PULA (?)

Dio monolitnog bloka ograde žrtvenika od kamena vapnenca. Djelomično nedostaje gornji dio spomenika (korniš i uzglavnica). S lijeve i desne strane vide se mjesta (utori) za spajanje sa drugim kamenim elementima. Na prednjoj strani, u kvadratnoj edikuli, u visokom reljefu isklesana je glava Jupiter Amona. Edikula je omeđena letvičastim dvostruko profiliranim okvirom, koji je s lijeve strane oštećen. Glava Jupiter Amona u cjelini popunjava edikulu. Muška glava obrasla je gustom kosom iz koje izlaze dva savijena u krug manja roga. Dio glave s kosom je oštećen. Velike oči oblika mandule nadsvedene su lukom jakih obrva, širok nos sa nosnicama i poluotvorena usta govore o dominantnom i pobjedničkom položaju lika na spomeniku. Dio brade i kose obrađen kamenorezačkim svrdlom.

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depicted figure. The exact finding site of the monument is not known, but it is believed that it belongs to the Antique heritage of the town of Pula (Forum). It was previously stored in the Pula Museum (ex invt. num. 479). The monument is today displayed in the Archaeological Museum of Istria in Pula (invt. num. A 18593). Dimensions: a) Monument: height 127,0 cm, width 74,0 cm, thickness 70,0 cm. b) Aedicule with head: height 47,0 cm, width 43,0 cm. Dates from: 2nd - 3rd century This monument is a compositional part of the lupiter Amon altar.

IUPITER AMON, PULA (?)

Part of a monolith limestone block from an altar enclosure. The upper part of the monument is partly missing (cornice and pulvinus). There are fixing points (grooves) for another stone element on the left and the right side. On

the front side, in the rectangular aedicule, the head of lupiter Amon is chiseled in high relief. A lattice-like doubly profiled frame, damaged on the left side, borders the aedicule. lupiter Amon's head entirely fills the aedicule. The man's head is covered with thick hair from which two small circularly bent horns emerge. A part of the head with hair is damaged. Strong eyebrows above large almond eyes, a wide nose with nostrils and a half-open mouth indicate a dominant and victorious position of the depicted figure. A part of the beard and hair is elaborated with a stone-carving drill. The exact finding site of the monument is not known, but it is believed that it belongs to the Antique heritage of the town of Pula (Forum). It was previously stored in the Pula Museum (ex invt. num. 479). The monument is today displayed in the Archaeological Museum of Istria in Pula (invt. num. A 18593).

Nije poznato točno nalazište ovog spomenika, ali se vjeruje da pripada antičkoj spomeničkoj baštini grada Pule (forum). Bio je pohranjen u puljskom muzeju (ex inv.br. 479). Danas se spomenik nalazi u dvorišnom lapidariju Arheološkog muzeja Istre u Puli (inv.br. A 18593). Dim.: a) spomenika: vis. 127,0 cm, šir. 74 cm, debij. 70 cm;

b) edikula s glavom: vis. 47,0 cm, šir. 43,0 cm. Datacija: II. - III. stoljeće. Ovaj spomenik je kompozicijski dio žrtvenika Jupiter Amona.

IZIDA, GALIZANA

Zavjetni žrtvenik od kamena vapnenca. Otkriven u Galižani (vicus Galisanus). Spomenik u obliku pravokutnog bloka izdiže se na proširenom postolju koje ... je bilo reljefno profilirano s tri strane. Natpisno polje je izvorno nadvisivao zabat, koji je s prednje strane potpuno otučen. dok mu se plitka profilacija nazire s bočnih strana. Na vrhu natpisnog polja uklesana je zavjetna posveta Izidi pravilnim izduženim slovima jednake visine u tri reda. Ispod prvog reda natpisa sredina polja je ukrašena reljefnim prikazima Izidinih simbola i drugih predmeta upotrebljavanih prilikom obavljanja kulta. Na prednjoj strani žrtvenika razabiru se reljefni prikazi čegrtaljke (sistrum), kovčežića (cistella), ptice proročice (avis) - predmeta koji su se koristili u Izidinoj kultnoj službi. U plitkom reljefu također su isklesani Izidini instrumenti: brad-va (ascia), žrtvena plitica (patera), štap sa zmijom (baculus). Na desnoj bočnoj strani žrtvenika uklesani su u plitkom reljefu na cijeloj površini spomenika bez natpisa Izidini znakovi: mač (gladius), augurov zakrivljeni štap (lituus). pila (serra), genije koji vodi panteru, klasje (špica), paun iznad zemlje i mjesečev luk.

Dimensions: a) Monument: height 127,0 cm, width 74,0 cm, thickness 70,0 cm. b) Aedicule with head: height 47,0 cm, width 43,0 cm. Dates from: 2nd - 3rd century This monument is a compositional part of the Iupiter Amon altar.

ISIS, GALIZANA

A votive altar made of limestone. It was found in the village of Galižana (vicus Galisanus). The monument has the form of a rectangular block positioned on a widened pedestal, which was profiled in relief on three sides. A gable was originally situated over the inscription area. Its front is fully chiseled off, with a shallow profile on the sides. A votive message to Isis is engraved on top of the inscription area in regular elongated letters of the

same height in three lines. The middle of the inscription area under the first line is decorated in relief with Isis' symbols and other objects used during the performing of cults. Several relief depictions can be discerned on the altars front side: a clapper (sistrum), a little chest (cistella), a prophet bird (avis) - objects that were used in the Isis cult services. Instruments of Isis are also engraved in shallow relief: a broad ax (ascia), an altar platter (patera) and a stock with a snake (baculus). Isis' symbols without inscriptions are engraved on the whole altar's right lateral side in shallow relief: sword (gladius), augurs bent cane (lituus). saw (serra), genius leading a panther, ears of grain (spica), peacock above the earth and crescent. The second line of the inscription is engraved on the monument's front, the size of the letters being the same as in the first line. The third, and the last, line is engraved at the very bottom of the monument in small plain letters, all of the same size.

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Ispod reljefa na prednjoj strani spomenika uklesan je drugi red teksta posvete u istoj veličini slova kao i u prvom redu. Treći i posljednji red natpisa urezan je na samom dnu spomenika malim i neuglednim slovima jednake visine.

[IJSIDIS INPEPJO Q LVTATIVS IVCVNDVS

[I]sidis inperio Q(uintus) Lutatius Iucundus

Po ludinom nalogu Kvint Lutacije Jukund

I.L, X/l 601.

Prema obliku spomenika B. Forlati Tamaro datira žrtvenik u I. stoljeće, premda oblikom slova više asocira na II. stoljeće. Prema P. Stankoviću, žrtvenik je bio izložen u crkvi Sv. Justa u Galižani, a po Th. Mommsenu zalaganjem P. Kandlera bio je nabavljen za Pulu i smješten u Augustovom hramu. Spomenik je danas izložen u Lapidariju Arheološkog muzeja Istre u Puli, soba I. (inv.br. A 41; ex br. 229). Dim.: vis. 91,0 cm, sir. 50,0 cm, debi']. 43,0 cm. Dotacija: I. -II. stoljeće.

IZIDA - FORTUNA, SAVUDRIJA

Stojeća brončana figurica, djelomično pokrivena zelenom patinom. Ženska figura oslonjena je na desnu nogu s izbočenim kukom na desno. Obučena je u dugi hiton - košulju, bez rukava, koja se otvara u izrez i u lijepim naborima seže do poda, te obavija lijevu nogu u iskoraku prema naprijed. Plašt - himation se spušta s lijevog ramena dijagonalno preko leđa, obavija kukove i fiksiran je pod prsima. Desna ruka spuštena je i malo otklonjena u desno, drži argolu kormila. Lijeva,

mSIDIS INPERIO Q • LVTATIVS IVCVNDVS

[Ijsidis inperio Q(uintus) Lutatius Iucundus

At the command of his Quint Lutatius Jucund

1.1.. X/l. 601.

B. Forlati Tamaro dates the monument to the 1st century according to its form, although the form of the letters resembles more the 2nd century type. According to P. Stanković the altar was displayed in the St. Justus church in Galiüana, whereas Th.

Mommsen believes that Pula got it thanks to P. Kandler and that it was positioned in the Augustus temple. The monument is today displayed in the Lapidarium of the Archaeological Museum of Istria in Pula, room I. (invt. num. A 41; ex. num. 229). Dimensions: height 91,0 cm, width 50,0 cm, thickness 43,0 cm. Dates from: 1st -2nd century

ISIS - FORTUNA, SAVUDRIJA

A standing bronze figure partly covered with green patina. The female figure leans on the right foot with the hip twisted to the right. She is wearing a long sleeveless shirt - hiton, cut in a neckline and reaching the floor in nice folds wrapping the left leg stepping forward. The cloak - himation - goes from the left shoulder diagonally over the back, around the hips and is fixed under the fingers. The right arm is lowered and slightly turned to the right, holding a tiller. The left hand, with the elevated elbow, holds the horn of abundance (cornucopia). The head, slightly turned to the right, is decorated with an "Isis hairstyle". There are a solar disc and feathers above two horns, and the rim of a

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s uzdignutom rukom u laktu, drži rog obilja (cornucopia). Glava, malo okrenuta na desno, ukrašena je frizurom na Izidin način. Dva roga nadsvedena su solarnim diskom i perjem, sa stražnje strane se uočava rub modija (modius - recipijent za žito, atribut Demetre). Kosa je kaligrafski iscizelirana. Podijeljena je razdjeljkom i sakupljena na zatiljku u punđu. Lice je klasične ljepote, fino i s lijepo obrađenim očima, nosom i ustima. Figura je graciozna i proporcionalna. Dim.: vis. 9,2 cm. Datacija: I. -II. stoljeće.

Ikonografija odgovara sinkretističkom tipu božanstva, koje je bilo veoma popularno u rimsko doba. Ovdje se spajaju elementi izijačke frizure s atributima Pelagitacije (rog obilja, južno voće) i Fortune (kormilo koje simbolizira prevlast nad ljudskom sudbinom i koji je također atribut Iziđe Pelagije - Isis Pelagia). Ova shema je prisutna u nizu varijanata i brojnim statuetama u bronci, a razlikuje se samo po radionicama, kalupima i kvaliteti izvedbe. Po stilu pripada u julijevsko-klaudi-jevsko razdoblje ili je proizvod tradicijskog predloška koji se koristio i u nešto kasnije doba.

HATOR, PULA

Mramorni ulomak reljefa glave egipatskog božanstva Hator s ljudskim licem i životinjskim ušima. Umjetnički obrađena glava uskih kosih očiju na čelu nosi kravlje uši i pokrivena je trostruko složenim pokrivalom povezanim trima pozlaćenim trakama. Pokrivalo je oštećeno, a s lijeve donje strane i uništeno. Nos je plosnat, a usta neproporcionalno mala. Na dijelu vrata lika nalazi se također pozlaćena traka, ogrlica sa

modius (wheat recipient - attribute of Demetres) can be seen on the backside. The hair is calligraphically enchased. It is divided by a parting and collected in a bun at the back. The face shows classical beauty, fine, with meticulously chiseled eyes, nose and mouth. The figure is graceful and proportional. Dimensions: height 9,2 cm Dates from: lst-2nd century

The iconography corresponds to a syncretistic type of god, very popular in Roman times. Elements of Isis hairstyle and Pelagitatia attributes (horn of abundance, exotic fruit) and Fortuna (helm symbolizing the control of human destiny, also an attribute of Isis Pelagia) merge in this figure. This scheme is present in several variants and in numerous bronze sculptures, differing only in workshop they were made in, moulds and quality. The style corresponds to the Iulian - Claudian period, but it could be the product of a traditional model used in a later period.

HATHOR, PULA

A marble fragment of a head relief depicting the Egyptian god Hathor with a human face and animal ears. The artistically elaborated head with narrow slant eyes carries cow ears

on the forehead and is covered with a triply folded headdress tied with three gold-plated bands. The headdress is damaged, even destroyed on the left lower side. The nose is flat, and the mouth disproportionally small. There is a gilt band on a part of the figure's neck, a necklace with triangle shaped incisions. The marble is finely dressed and polished, so that the contrast of the white-gray color and the golden plating is very marked.

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trokutastim urezima. Mramor je lijepo oblikovan i izglačan, tako da se ističe kontrast sivo-bijele boje i pozlate. Cijela reljefna aplika je bila pričvršćena na vertikalnu podlogu zida, jer se sa stražnje strane uočavaju na više mjesta rupe za učvršćivanje i ostaci maltera. Sa stražnje strane urezana je i oznaka: XIII. Mramorni ulomak visoke umjetničke i zanatske obrade, pronađen je 1932/33.g. u puljskom amfiteatru među građevinskim materijalom i maltom prilikom radova na rekonstrukciji dijela sjedišta za gledatelje uz novčić Galbe restituiran od Tita (Cohen, I, 341, br. 352). Danas se nalazi u izložbi kameno-statuarne plastike Augustovog hrama u Puli (inv.br. A 8712). Dim.: vis. 11,8 cm, sir. 17.4 cm. Datacija: II. -III. stoljeće.

AHELOJ, PULA

Gornji dio zabatnog krovnog vijenca od kamena vapnenca. Građevinski blok je bogato ukrašen profilacijom, uokvirava ga jednostavna astragalna vrpca. U sačuvanom ukrasnom polju su dva lika: jedno je maska tragičara u plitkom reljefu, a drugo prikaz Aheloja u visokom reljefu koji ističe njegovu lijepo oblikovanu divovsku glavu. Glava je isklesana shematski prema poznatim predlošcima etrušćanske i rimske umjetnosti dekoriranja javnih zgrada.

The whole relief application was attached to a vertical wall surface: there are several fixing holes on the back-side, as well as remains of mortar. There is a sign engraved on the backside: XIII. This marble fragment shows a high level of artistic and artisan elaboration. It was found in 1932/33 in the Pula's Amphitheatre among building material and mortar during reconstruction works on a part of the visitors' seats. A Galbe coin, renovated by Tito (Cohen, I, 341, No. 352) was found near the fragment. The marble fragment is today displayed in the exhibition of stone-sculptural plastic art in the Augustus temple in Pula (invt. num. A 8712). Dimensions: height 11,8cm, width 17,4 cm. Dates from: 2nd - 3rd century

ACHELOUS, PULA

The upper part of the gable cornice is made of limestone. The building block is richly decorated in profile and framed by a simple astragal band. There are two figures in the preserved decoration area: one is the mask of a tragic figure in shallow relief, the other is Achelous in high relief, with an emphasis on his nicely elaborated giant head. The head was chiseled according to the schemes of known examples of Etruscan and Roman art in decorating public buildings. Achelous has a broad face, almond protruding eyes, a pronounced wide nose, marking lips,

Aheloj ima široko lice, plošno bademastog oblika izbuljene oči, naglašen širok nos i markantnih usana izdužena usta, a u bujnoj kosi izdužene uši. Medu pramenovima na čelu uočavaju se ravni rogovi. Građevinski blok je nađen krajem XIX. st. među ruševinama velikog rimskog kazališta (Monte Žaro) u Puli. Bio je pohranjen u puljskom muzeju (ex inv.br. 336), a dans se nalazi u lapidariju Arheološkog muzeja Istre u Puli (inv.br. A 125). Dim.; vis. 65,0 cm, šir. 35,0 cm. Datacija: sredina I. stoljeća.

AHELOJ, PULA

Ulomak ploče od kamena vapnenca, u plitkom reljefu isklesana je glava Aheloja. Reljefni ulomak je dio arhitektonske dekoracije zgrade ili sarkofaga, äiroki nosni luk zatvara očne šupljine u kojima se nalaze male oči. Obrazi lika su zaobljeni, usta mala, a brada proširena. Iz visoke kose izvedene tehnikom svrdla izlaze dva mala ravna roga, a dobro su uočljiva i dva mala uha. Ulomak je nađen u Puli. Danas se nalazi u lapidariju Augustovog hrama u Puli (inv.br. A 8724). Dim.: vis. 50,0 cm, šir. 75,0 cm. Datacija: II. -III. stoljeće.

SERAPIS, PULA

U pravokutnoj edikuli isklesan je lik pokojnice. Lijevu stranu edikule flankirala je također jedna figura, možda Genija, ali je toliko uništena da se ne može preciznije odrediti. Ove figure su bile invenciozno

elongated mouth, and his luxuriant hair hides elongated ears. Flat horns can be seen among flocks of hair on his forehead. The building block was found in the late 19th century among the ruins of the Small Roman Theatre (Monte Zaro) in Pula. It was stored in the Pula Museum (ex invt. num. 336), and today stands in the Lapidarium of the Archaeological Museum of Istria in Pula (invt. num. A 125) Dimensions: height 65,0 cm, width 35,0 cm. Dates from: mid 1st century

ACHELOUS, PULA

The limestone fragment shows Achelous' head in relief. The relief fragment is part of an architectonic decoration of a building or a sarcophagus. A wide nose arch closes the eye sockets with small eyes. The cheeks are rounded, the mouth small and the chin widened. Two flat horns emerge from the high hair, dressed in the drill technique, and two small ears can be noticed as well. The fragment was found in Pula. It is today stored in the Lapidarium of the Augustus temple in Pula (invt. num. A 8724). Dimensions: height 50,0cm, width 75,0 cm. Dates from: 2nd - 3rd century

The face of the deceased woman is chiseled in the rectangular aedicule. The left side of the aedicule is also flanked by a figure, possibly Genia, but is very badly damaged, so that it cannot be determined more precisely. These figures were

SERAPHIS, PULA

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koncipirane kao nosači zabata, a ujedno i kao simbolični pratitelji pokojnice. Na bočnim stranama stele, u plitkom reljefu, razabiru se obrisi dviju itifaličnih herma, koje na glavama nose visoke kape tipa "calathos", orijentalne provenijencije ili se možda radi o kapama koje je nosio Serapis -egipatsko božanstvo. Ispod edikule nalazi se tekst: Obellia[e] Maximae. Th. Mommsen je ime pročitao kao Obellia Maxiima. Desna strana pravokutne edikule nadgrobne stele od kamena vapnenca flankirana je s figurom Atisa, u bareljefu, slobodno stršećeg u prostoru. Gornji dio tijela s glavom je uništen. Položaj lijeve ruke i sačuvan dio nogu, te bogata draperija odjeće tipične za ovo frigijsko božanstvo, budući se radi o nadgrobnom spomeniku, ukazuju da se figura može odrediti kao funerarni Atis. Nagrobni spomenik nije nađen in situ, već je prema zapisima J. Lombardija (cod. Utinensis, f. 18 i cod. Cicogna) i G.R. Carlija otkriven nedaleko zidina puljskog Amfiteatra. Kasnije je prenesen u lapidarij Augustovog hrama u Puli, a sada se nalazi u Lapidariju Arheološkog muzeja Istre u Puli (inv.br. A 313). Dim. spomenika: vis. 92,o cm, sir. 79,o cm, deblj. 36,o cm. Datacija: I. stoljeće.

inventively conceived as carriers of the gable, but also as symbolic escorts of the deceased. The outlines of two itifalic hermae can be seen on the sides of the Stella in low relief. They have high hats on their heads possibly of the "calathos" type, of an Oriental provenience, or that could also be hats worn by the Egyptian god Seraphis. Under the aedicule the following text is to be found: Obellia[e] Maximae. Th. Mommsen read the name as Obellia Maxuma. The right side of the rectangular

aedicule of a tombstone Stella made of limestone is flanked by a figure of Attis. in low relief, freely sticking out. The upper part of the body with the head is destroyed. The following elements indicate that the figure is a funerary Attis: the position of the left hand, the preserved part of the legs, the rich clothing typical for this Phrygian god and its being positioned on a tombstone. The tombstone was not found in situ, but discovered following the written works of J. Lombardi (cod. Utinensis, f. 18 and cod. Cicogna) and G.R. Carli near the walls of the Amphiteatre in Pula. It was later moved to the Lapidarium of the Augustus temple in Pula. and is today displayed in the Lapidarium of the Archaeological Museum of Istria in Pula (invt. num. A 313). Dimensions of the monument: height 92,0 cm, width 79,0 cm, thickness 36,0 cm. Dates from: 1st century

Dr. se. Vesna Girardi-Jurkić

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EGIPATSKE VOTIVNE FIGURICE U LARARIJIMA

Egipatska božanstva Oziris \Apis, kao njegova duša u rimsko doba simboliziraju rast zemlje i vegetacije, te se povezuju s carstvom sjena i podzemlja (žena je Izida). Apis kao sveti bik je bio duša Ozirisa i također se višekratno asocira s plodnošću vegetacije s obzirom na golemi lunarni krug koji mu je bio prikazan između rogova. Doseljeno epipatsko i orijentalizirano stanovništvo, pretežito trgovci i isluženi vojnici, nastavili su na istarskom poluotoku štovati svoje tradicijski prihvaćene i udomaćene kultove, duboko povezane s prirodnim pojavama u novoj postojbini, nastojeći ishoditi i zadobiti božanstu zaštitu i blagostanje. Tako se u doba sjetve nastavilo i s upotrebom čegrtaljke (sistrum), Izidinog glazbala, koje je trebalo odagnati svu zlu kob od očekivanog uroda na poljima i u vrtovima. Ova šarolikost religioznog inventara i božanstava u antičkoj Istri ukazuje bez sumnje na visok stupanj religijske tolerancije rimske vlasti u svrhu prosperiteta rimske države.

Sistrum, brončana minijaturna čegrtaljka sastavljena od izduženog trapezoidnog obruča sa četiri metalna prutića za proizvodnju zvuka trešnjom. Obruč se nastavlja u dršku. Na vrhu obruča je prikaz životinje: psa ili mačke.

EGYPTIAN VOTIVE STATUETTES IN SHRINES DEDICATED TO THE LARES

The Egyptian deities Osiris and Apis as his soul, in the Roman times symbolize the growing of vegetation and are associated to the realm of shadows and the underworld (the woman is Isis). Apis, as the sacred bull, was the soul of Osiris and has frequently been associated to the fertility of vegetation because of his huge lunar disc represented between his horns. The settled Egyptian and oriental population, predominantly merchants and veteran soldiers, continued to worship their traditional cults on the Istrian peninsula, strongly connected to the natural phenomena in their new home country, in their strive to obtain divine protection and prosperity. At sowing time, they continued to use the rattle (sistrum), Isis' instrument which was supposed to drive away all the evil fortune from the expected crop on the fields and in the gardens. This wide variety of religious inventory and deities in antique Istria undoubtedly proves a high level of religious tolerance by the Roman authorities in the purpose of prosperity of the Roman state.

Sistrum, miniature bronze rattle made of a prolonged trapezoidal ring with four metal sticks making sounds when shaken. The ring has a handle with a representation of an animal, a cat or a dog, on its end.

Visina 7,8 cm, max. širina 5,2 cm. Dataci]a: I. st. posl. Kr. Nalazište: nepoznato Arheološki muzej Istre, Pula - Antička zbirka. Inv.br. A 5048.

1. Oziris, brončana figurica s prikazom mumificiranog muškog lika s krunom Gornjeg Egipta, a u stiliziranim rukama drži faraonske atribute - pastirski štap beka i bič nehah. Liceje stilizirano i shematski prikazano, krase ga dvije tanke stilizirane brade. Visina 15,5 cm, max. širina 3,8 cm. Datacija: I.-II. st. Nalazište: nepoznato. Arheološki muzej Istre, Pula - Antička zbirka. Inv.br. A 5224 (ex 3227).

2. Apis, mala brončana figurica svetog bika sa solarnom (možda lunarnom) pločom među rogovima. Po tijelu životinje su raspoređeni urezi koji predstavljaju šare tj. potvrdu daje životinja inkarnacija boga Apisa. Lijeva prednja i stražnja noga su oštećene. Bikove tj. telad sa tako znakovitim šarama Egipćani su posebno njegovali i nakon smrti mumificirali. Visina 4,8 cm, dužina 5,0 cm. Datacija: I.-II. st. Nalazište: nepoznato. Arheološki muzej Istre, Pula - Antička zbirka. Inv.br. A 5224 (ex 3236)

3. Brončana figurica - amulet s prikazom nagog muškarca skupljenih nogu u koljenima. Glava je izbačena prema naprijed. Na desnoj strani glave kosa je vezana u rep. Ruke lagano povijene u laktovima pružaju se uz tijelo. Visina 6,7 cm, širina 2,0 cm. Datacija: I.-II. st. Nalazište: nepoznato. Arheološki muzej Istre, Pula - Antička zbirka. Inv.br A 5221.

Height 7,8 cm, max. length 5,2 cm. Dated: 1st century Site: unknown Archaeological Museum of I stria, Pula -Antique collection, invt. num. A 5048

1. Osiris, bronze statuette with the representation of a mummified male figure with the crown of the Upper Egypt and holding in his stylized hands the pharaonic attributes - the shepherd's crook beka and the whip nehah. The face is stylized and schematically represented, decorated by two thin stylized beards. Height 15,5 cm, max. width 3,8 cm. Dated: 1st -2nd century Site: unknown Archaeological Museum of Istria, Pula - Antique collection, invt. num. A 5224 (ex 3227).

2. Apis, small bronze statuette of the sacred bull with a solar (maybe lunar) disc between his horns. There are cuts disposed along the body of the animal. They represent ornaments, that is, the proof that the animal is the incarnation of the god Apis. The left front and hind legs are damaged. The bulls or calves with such important ornaments were especially cared for by the Egyptians which would mummify them when they died. Height 4,8 cm, length 5,0 cm. Dated: 1st -2nd century Site: unknown Archaeological Museum of Istria, Pula -Antique collection, invt. num. A 5224 (ex 3236)

3. Bronze statuette - amulet with a representation of a naked man with touching knees. The head is pointing forward. On the right side of the head the hair is tied into a tail. The hands with slightly bent elbows descend the sides of the body. Height 6,7 cm, width 2,0 cm. Dated: 1st -2nd century Site: unknown. Archaeological Museum of Istria, Pula -Antique collection, invt. num. A 5221

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4. Egipeanin, brončana figurica muškog lika u hodu. Lijeva ruka i lijeva noga izbačene su prema naprijed. Tijelo je nago do pasa, a noge su mu pokrivene haljinom. Vrat je ukrašen stiliziranom ogrlicom, a nadlaktice stiliziranim narukvicama. Glava je prekrivena niskim stožastim pokrivalom. Stopala nedostaju. Visina 9,2 cm, širina 2,2, cm. Dataci]a: I.-II. st. Nalazište: nepoznato. Arheološki muzej Istre, Pula - Antička zbirka. Inv.br. A 5220.

5. Egipćanka, brončana figurica klečeće žene na postamentu. Kosa počešljana u karakterističnu egipatsku frizuru. Donji dio tijela je pokriven odjećom, a gornji ukrašen velikim pločastim nakitom na prsima. Stopala su bosa. Nedostaju dijelovi ruku koje su lagano spuštene uz tijelo i povijene prema naprijed. Visina 6,5 cm, širina 2,2 cm. Datacija: I. -II. st. Nalazište nepoznato. Arheološki muzej Istre, Pula - Antička zbirka. Inv.br. A 5210.

Kristina

LITERATURA / BIBLIOGRAPHY

BUDISCHOVSKY M.C., Jupiter-Amon et Meduse dans les forums du Nord de I'Adriatique, AN, XLIV, Udine 1973.

BUDISCHOVSKY M.C., Les cultes orientaux ä Aquillee et leur diffusion en Istrie et en Venetie, AAAd, XII, Udine 1977, 99-123.

DŽIN K, Katalog der Gegenstände aus der antiken und spätantiken Epoche, u: Der Zeuber Istriens, Pula 1999, 47-61.

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4. Egyptian man. bronze statuette of a male figure walking. The left arm and leg are thrown forward. The body is naked to the waste and the legs are covered with a dress. The neck is decorated with a stylized necklace and the upper arms with a stylized bracelets. The head is covered with a low conical head dress. The feet are missing. Height 9,2 cm, width 2,2 cm. Dated: 1st -2nd century: Site: unknown. Archaeological Museum ofIstria, Pula -Antique collection, invt. num. A 5220

5. Egyptian woman, bronze statuette of a woman kneeling on a basis. The hair is done in a characteristic Egyptian manner. The lower part of the body is covered with clothes and the upper part is decorated with huge plate-like ornaments. The feet are bare. Parts of the arms which gently descend down the body and have slightly bent elbows are missing. Height 6,5 cm, width 2,2 cm. Dated: 1st -2nd century Site: unknown. Archaeological Museum of Istria, Pula -Antique collection, invt. num. A 5210.

Džin

JURKIC V., Arte plast ica del culto come determinante Vesistenza del cult i romani e sincretici nella regione istriana, ACRS, V, Trieste-Rovigno 1974, 7-33.

JURKIĆ V., The Cult of Magna Mater in the region of Istria, ŽA, XXV/1-2. Skoplje 1975,285-298.

JURKIĆ V.,L'Istria in epoca romana, MK, I, Pula 1985, 54-96. SELEM P., Izidin trag, Split 1997. URANIC I., Bogovi, duhovi i demoni starog Egipta, Zagreb 1999.

DUHOVI I DEMONI STAROG EGIPTA SPIRITS AND DEMONS OF ANCIENT EGYPT

Tijekom trajanja civilizacije faraonskog Egipta, koji kao samostalno kraljevstvo postoji u dugom kontinuitetu od čak 3000 godina (3100. pr. Kr. -30. po. Kr.), dostignuta je visoka razina umjetničkog izraza. To se odnosi na kiparstvo, zidno slikarstvo i uopće oblikovanje kamena, drveta, metala, keramike i drugih medija izrade umjetničkih predmeta. Egipatska je umjetnost i materijalna kultura uopće, prvenstveno bila u službi reli-giozno-teoloških ideja i vjerovanja. Među manjim predmetima koji se u velikom broju čuvaju u zbirkama svjetskih muzeja prevladavaju oni povezani s narodnim vjerovanjima i kultom mrtvih. To su većinom predmeti koji su se ostavljali u grobnice kao zavjetni predmeti ili kao žrtve u čast vlasnicima grobova. Narodna vjerovanja uključivala su magijske postupke, izričaje i oblike štovanja mrtvih predaka, što su ih obavljali njihovi živi rođaci. Među zanimljivijim vrstama takvih objekata su ušebti figurice, koje nam prenose jednu od zamisli o zagrobnom životu u Egipćana. One su magijski "oživljeni" kipići koji će na drugom svijetu obavljati poljodjelske radove. Naime, prosječni Egipćanin ponekad je zamišljao da će zagrobni život biti jednak ovozemaljskom, te da će i tamo morati obavljati svakodnevne poslove. Kako bi taj "drugi život" bio što ugodniji on je sebi posvećivao ušebtije koji će raditi umjesto njega. Druga vrst predmeta, zastupljena u ovoj maloj zbirci su različiti amuleti. Riječ je o predmetima koji su se posvećivali određenim božanstvima i nosili kao nakit, a u cilju zaštite svojih vlasnika. Među omiljenim amuletima na prvom su mjestu bili mali skarabeji i sunčevo oko udat. Ijedan i drugi utjelovljuju svu simboliku zaštite. Vjerovalo se da čuvaju od uroka, obnavljaju narušeno zdravlje i donose sreću. Glavina amuleta može se povezati s narodnim vjerovanjima koja se dosta razlikuju od svećeničkog elitnog pristupa religiji. To slobodnije tumačenje religije osobito uzima maha od doba

During the Pharaonic civilization in Egypt, which had a long continuity as an autonomous reign of almost 3000 years (3100 BC - 30 AD), a high level of artistic expression has been reached. This primarily refers to sculpture, wall painting and various works in stone, wood, metal, pottery and other media in general for the creation of artifacts. Egyptian art and material culture in general was mainly at the services of religious - theological ideas and beliefs. The majority of items kept in museums around the world are associated to folk beliefs and the cult of the dead. They were mostly placed in tombs as votive objects or as offerings in honor of the deceased. Folk beliefs included magical procedures, expressions and forms of honoring the deceased ancestors, performed by their living relatives. Ushebti figures are very interesting examples, which convey one of the Egyptian ideas about the afterlife. They are magically "revived" little sculptures, which are supposed to engage in fanning in the other world. The average Egyptian has, namely, sometimes imagined the life after death to be the same as this life, with all the everyday duties. In order to make the "other life" as pleasant as possible, he would dedicate the ushebti figures to himself to do the work instead of him. Various amulets are another type of object presented in this small collection. These objects were dedicated to specific gods and were worn as jewelry, in order to protect their owners. The favorite amulets were small scarabs and the Sun's eye Ujat. They both embody the whole symbolism of protection. It was believed that they protected the owner from spells, healed people and brought luck. The majority of the amulets can be linked to folk beliefs, rather different from the elitist approach to religion practiced by priests. Such a free interpretation of religion became especially widespread in the period of the New Kingdom (1552 -1070 BC), and got new forms due to the contact to the Antique world (Greece and Rome). Bes, for instance, the demon protector of the home, is similar to the Greek Pan

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Novog kraljevstva (1552.-1070. pr. Kr.), a u kontaktu sa svijetom antike (Grčka i Rim) dobiva nove oblike. Primjerice Bes, demon zaštitnik kuće, je u svojoj atribuciji blizak grčkom Panu. U to vrijeme (Ptolemejsko doba od 332. pr. Kr. i doba rimskog protektorata od 30. po. Kr.) Egipatska pučka religija obogaćena sinkretizmima širi se diljem Rimskog carstva, pa stiže i do naših krajeva gdje se može naći rimski kult Iziđe, Serapisa, te također poneki primjerak spomenutih amuleta.

1. Ušebti figurica, keramika, Svjetlo zelene boje (izblijedjele). Bez zapisa. Duga perika i brada boga Ozirisa. U rukama, u visini ramena vide se poljodjelske alatke. Lice oštećeno, a noge donji dio potkoljenica nedostaje. Duž poleđine je stup-potporanj. Ušebti figurice bile su dijelom narodnih vjerovanja, s magijskom namjenom. Nazvani su po riječi ušeb koja znači: "služiti", "pokoravati se", dok je stari naziv u egiptologiji bio šauabti. Figurica u obliku mumije s poljodjelskim alatkama u rukama i često košarom za prijenos pijeska na leđima, nad kojom je izgovoren poseban tekst bila je oživljena posebnim izričajima, te je trebala služiti vlasniku grobnice. Najčešće se izrađuju od keramike, a rjeđe od kamena i drveta. Inv.br. P 7580 Datacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

2. Ulomak ušebti figurice, keramika, Fragment - glava i ramena. Odljev je amorfan. Crte lica i perika grubo su oblikovane. Inv.br. P 30331 Datacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

3. Ulomak ušebti figurice, keramika, Fragment je svjetlo zelene boje obuhvaća središnji dio tijela bez glave i nogu. Trup na kojem se vide šake s poljodjelskim alatkama i vrh brade, te završeci perike.

in his attributes. It was in that time (Ptolemaic time from 332 BC and the time of the Roman protectorate to 30 AD) that the Egyptian folk religion, enriched with syncretism, spread all over the Roman Empire, arriving thus to our region, so that the Roman cult of Isis, Seraphis and a few examples of the mentioned amulets can be found here as well.

1. Ushabti figure, pottery Light green color (faded). No inscription. Long wig and beard of god Osiris. In the hands, at shoulder height, farming tools can be seen. Face damaged, lower part of shanks missing. A supporting column along the back. Ushebti figures were a part of a folk belief with a magical purpose. They got their name from the word usheb meaning: "to serve", "to obey", while in ancient Egyptology they were called shauabti. This mummy-like figure with farming tools in its hands and often with a sand basket on its back would be brought into life by special spoken spells, and was supposed to serve the owner of the grave. The figures are mostly made of pottery, sometimes of stone or wood. No: P 7580 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

2. Fragment of ushabti figure, pottery Fragment - head and shoulders. The cast is formless. The face and the wig are roughly modeled. No: P 30331 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

3. Fragment of ushabti figure, pottery The fragment is light green, only the central part of the body is preserved, without head and legs. Body, hands with farming tools, top of the beard, tips of the wig. No: P 30332 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

Inv.br. P 30332 Datacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

4. Ulomak ušebti figurice, keramika, Fragment je svjetlo plave boje i uključuje potkoljenice i stopala kipića. Inv.br. P 30333 Datacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

5. Amulet Besa, keramika Figurica je izblijedjele zelene boje, a vjerojatno je bila dio ogrlice ili drugog nakita. Na glavi nedostaje stražnji dio kanalića za provlačenje niti. Amorfna je, ali se po stavu prepoznaje Bes - demon-zaštitnik kuće. Vjerovalo se da Bes svojom nazočnošću i zastrašujućim izgledom tjera loše utjecaje od kuće i ukućana. lnv.br. P 30334 Datacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

6. Amulet Besa, keramika, Zelenkasto sivi fragment koji uključuje gornji dio lica i glave Besa. Reljefno su prikazane oči, uši, obrve i specifično pokrivalo za glavu s četiri vrha. Figura je plošna, pa se ne može zaključiti je li bila dio nekog nakita. Inv.br. P 30335 Datacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

7. Amulet hramskog stupa - uađ, kermika, Amulet hramskog stupa koji u svom vrhu predstavlja zatvoreni cvijet papirusa. Rupa u vrhu upućuje daje bio privjesak ili dio ogrlice. Inv.br. P 30336 Datacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

8. Oko udat, keramika, Amulet donekle izblijedjele zelene boje, a crte oka prikazane su reljefno, ali i obojene crnom bojom. Predmet se nosio kao zaseban amulet oko vrata.

4. Fragment of ushabti figure, pottery The fragment is light blue and shows the lower legs and feet of the sculpture. No: P 30333 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

5. Amulet of Bes, pottery The figure is of a faded green color; it was probably a part of a necklace or other jewelry. The back part of a stringing canal on the head is missing. The figure is formless, but the posture is the one of Bes - the demon protector of the home. It was believed that Bes with his presence and fierce looks drove away all bad influence from the home and the family members. No: P 30334 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

6. Amulet of Bes, pottery Greenish gray fragment of the upper part of Bes's face and head. The eyes, ears, eyebrows and the specific four-top hat are in relief. The figure is flat: it is thus uncertain whether it was a fragment of jewelry. No: P 30335 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

1. Amulet of Uaj, a temple column, pottery Amulet of a temple column, representing a closed papyrus flower in its top part. A hole in the top signalizes that it was a charm or a part of a necklace. No: P 30336 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

8. Ujat eye, pottery Amulet of a slightly faded green color; the eye lines are in relief, but also colored black. The object was worn singly as an amulet around the neck. The Ujat has many attributes in the Egyptian mythology and beliefs. It is the eye of Ra or Horus; the solar and the creative principle. Healing properties are attributed to it in later periods, and it has always been connected to magical protection.

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Udat u egipatskoj mitologiji i vjerovanjima ima brojne atribucije. To je Raovo ili Horusovo oko. Solarni i kreativni princip. U kasnijim razdobljima pripisuju mu se ljekovita svojstva, dok je oduvijek povezivan s magijskom zaštitom. Udat je ijedan od instrumenata stvaranja čovjeka, jer su prema jednom mitu ljudi nastali iz Raova oka u obliku suza. Jedan od najomiljenijih amuleta faraonskog Egipta. U tradicionalnom prikazivanju iz oka udat izlaze dvije suze. Jedna se spušta vertikalno a druga spiralno. Inv.br. P 30337 Dotacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

9. Oko udat, keramika, Zelenkaste boje s rupom za nizanje. Oko je amorfno, bez ikakvih jasnih detalja i smješteno u krug (solarni simbol). Inv.br. P 30338 Dotacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

10. Oko udat, keramika, Svjetlo zeleni amulet s rupom za nizanje. Detalji su urezani. Inv.br. P 30339 Dotacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

11. Oko udat, keramika, Svjetlo smeđi amulet s rupom za nizanje. Detalji su urezani. Inv.br. P 30340 Dotacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

12. Oko udat, keramika, Sivo-smeđi amulet s rupom za nizanje. Detalji su urezani. P30341 Dotacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

13. Oko udat, keramika, Smeđi amulet s rupom za nizanje. Detalji su urezani.

Ujat is also one of the instruments of the creation of man: according to a myth, man was created from Ra's eye in form of tears. It was one of the favorite amulets in Pharaonic Egypt. Two tears appear in the ujat eye in traditional depictions: one emerging vertically, the other spirally. No: P 30337 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

9. Ujat eye, pottery Greenish color; stringing hole. The eye is formless, no clear details, situated in the center (the solar symbol). No: P 30338 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

10. Ujat eye, pottery Light green amulet with a stringing hole. Engraved details. No: P 30339 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

11. Ujat eye, pottery Light brown amulet with a stringing hole. Engraved details. No: P 30340 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

12. Ujat eye, pottery Gray-brown amulet with a stringing hole. Engraved details. No: P 30341 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

13. Ujat eye, pottery Brown amulet with a stringing hole. Engraved details. No: P 30342 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

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Inv.br. P 30342 Dotacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

14. Cvijet (lotos ?), keramika Vjerojatno fragment. Inv.br. P 30343

15. - Skarabej, kost (?) S gornje strane predmeta urezan je oblik kukca-balegara koji se u Egiptu povezivao sa jutarnjim Suncem. S donje strane urezani su ner-azgovjetni znakovi. Jedan od njih je vjerojatno sokol. Duž predmeta rupa za nizanje. Inv.br. P 30344 Dotacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

16. Amulet hramskog stupa uađ, drvo, Predmet od neobojenog drveta. Autentičnost mu je upitna. Inv.br. P 30345 Datacija: Kasno ili Ptolemejsko razdoblje (1070. pr. Kr.- 30. po. Kr.)

17. Perla cilindričnog oblika, kamen Vjerojatno dio ogrlice. Inv.br. P 30346

14. Flower (lotus?), pottery Probably a fragment No: P 30343

15. Scarab, bone (?) The shape of a bug - scarabeus is engraved in the upper part of the object. This bug was connected to the morning Sun in Egyptian mythology. Illegible signs are engraved in the lower part. One of them is probably a falcon. There is a stringing hole along the object. No: P 30344 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

16. Amulet of Uaj, a temple column, wood Object made of uncolored wood. Its authenticity is questionable. No: P 30345 Dates from: Late or Ptolemaic period (1070BC - 30 AD)

17. Bead of cylindrical shape, stone Probably a necklace fragment. No: P 30346

Zahvaljujemo dr.sc. Kristini Mihovilić na ljubaznosti za ustupanje ove zbirke iz Arheološkog muzeja Istre u Puli,

zbog stručne obrade i publiciranaja.

I would like to express my gratitude to Kristina Mihovilić, Ph.d., who loaned this collection of the Archaeological Museum of Istria in Pula, for further scientific research and publication.

Igor Vranić

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